Peter Fischli (b. 1952) and David Weiss (b. 1946 – d. 2012) have worked as an artistic team, always with a healthy dash of self-irony and humour, since 1979, and they are among the most influential contemporary artists in the multi-media field in Switzerland. The two Zurichers first attracted international notice at documenta 8 in 1987 with their film Der Lauf der Dinge. Garten is one of a series of Concrete Landscapes, of which the first, smaller, versions appeared in 1984. With their somehow crude and archaic feel, these landscapes seem to have been exposed to erosion since the dawn of time, and yet the material is a modern one, which – to the great delight of the artists – merely has to be left in a raw, untreated state to look so old.

Peter Fischli (b. 1952) and David Weiss (b. 1946 – d. 2012) have worked as an artistic team, always with a healthy dash of self-irony and humour, since 1979, and they are among the most influential contemporary artists in the multi-media field in Switzerland. The two Zurichers first attracted international notice at documenta 8 in 1987 with their film Der Lauf der Dinge. Garten is one of a series of Concrete Landscapes, of which the first, smaller, versions appeared in 1984. With their somehow crude and archaic feel, these landscapes seem to have been exposed to erosion since the dawn of time, and yet the material is a modern one, which – to the great delight of the artists – merely has to be left in a raw, untreated state to look so old.

Leiko Ikemura (b.1951 in Tsu/Mie, Japan) studied sculpture and painting in Spain, and in 1979 settled in Zürich, before finally moving to Cologne in 1985. After beginning with lively, dreamlike drawings and paintings she turned in 1987 to sculpture as her central medium. Since then she has made figures – mostly female – who fluctuate between two conditions, on the one hand they seem unfinished, on the other still in a state of becoming. Their undecided condition thematizes her fear of losing her cultural identity, and also a deep understanding of human nature – her figures are also commuters across the border, mediators between Japanese and Western culture.

Leiko Ikemura (b.1951 in Tsu/Mie, Japan) studied sculpture and painting in Spain, and in 1979 settled in Zürich, before finally moving to Cologne in 1985. After beginning with lively, dreamlike drawings and paintings she turned in 1987 to sculpture as her central medium. Since then she has made figures – mostly female – who fluctuate between two conditions, on the one hand they seem unfinished, on the other still in a state of becoming. Their undecided condition thematizes her fear of losing her cultural identity, and also a deep understanding of human nature – her figures are also commuters across the border, mediators between Japanese and Western culture.

Leiko Ikemura (b.1951 in Tsu/Mie, Japan) studied sculpture and painting in Spain, and in 1979 settled in Zürich, before finally moving to Cologne in 1985. After beginning with lively, dreamlike drawings and paintings she turned in 1987 to sculpture as her central medium. Since then she has made figures – mostly female – who fluctuate between two conditions, on the one hand they seem unfinished, on the other still in a state of becoming. Their undecided condition thematizes her fear of losing her cultural identity, and also a deep understanding of human nature – her figures are also commuters across the border, mediators between Japanese and Western culture.

At the Venice Biennale in 1990 Anish Kapoor (b.1954 in Mumbai, India) represented Great Britain, and today he is one of the most prominent artists working in British Sculpture. The many-sided work of the 1991 Turner Prize winner is highly regarded internationally, not least because he combines the spiritual traditions of India with the idea of the sublime from the Western tradition in art. Since his first sculptures using colour pigments Kapoor has always crossed the borders between the genres. His method of working is that of a sculptor, but the themes of his sculptures – emptiness, transformation, immateriality, faith or passion – go far beyond questions of form and derive from painting.

At the Venice Biennale in 1990 Anish Kapoor (b.1954 in Mumbai, India) represented Great Britain, and today he is one of the most prominent artists working in British Sculpture. The many-sided work of the 1991 Turner Prize winner is highly regarded internationally, not least because he combines the spiritual traditions of India with the idea of the sublime from the Western tradition in art. Since his first sculptures using colour pigments Kapoor has always crossed the borders between the genres. His method of working is that of a sculptor, but the themes of his sculptures – emptiness, transformation, immateriality, faith or passion – go far beyond questions of form and derive from painting.

At the Venice Biennale in 1990 Anish Kapoor (b.1954 in Mumbai, India) represented Great Britain, and today he is one of the most prominent artists working in British Sculpture. The many-sided work of the 1991 Turner Prize winner is highly regarded internationally, not least because he combines the spiritual traditions of India with the idea of the sublime from the Western tradition in art. Since his first sculptures using colour pigments Kapoor has always crossed the borders between the genres. His method of working is that of a sculptor, but the themes of his sculptures – emptiness, transformation, immateriality, faith or passion – go far beyond questions of form and derive from painting.

At the Venice Biennale in 1990 Anish Kapoor (b.1954 in Mumbai, India) represented Great Britain, and today he is one of the most prominent artists working in British Sculpture. The many-sided work of the 1991 Turner Prize winner is highly regarded internationally, not least because he combines the spiritual traditions of India with the idea of the sublime from the Western tradition in art. Since his first sculptures using colour pigments Kapoor has always crossed the borders between the genres. His method of working is that of a sculptor, but the themes of his sculptures – emptiness, transformation, immateriality, faith or passion – go far beyond questions of form and derive from painting.

Mauro Staccioli has been working as a sculptor since 1968. His formal language can be described as Minimalist, but in contradistinction to Minimalism’s concentration on material and form, Staccioli includes the spatial context of his sculpture in the creative process as an aspect of his work that has equal validity. In consequence he has developed a working method which is mainly dependent on the site. For this reason his works have less of the stringency of Minimal Art’s objective investigation of the material. They incorporate a subjective interpretation of the spatial situation while retaining all Minimalism’s clarity of form.

Mauro Staccioli has been working as a sculptor since 1968. His formal language can be described as Minimalist, but in contradistinction to Minimalism’s concentration on material and form, Staccioli includes the spatial context of his sculpture in the creative process as an aspect of his work that has equal validity. In consequence he has developed a working method which is mainly dependent on the site. For this reason his works have less of the stringency of Minimal Art’s objective investigation of the material. They incorporate a subjective interpretation of the spatial situation while retaining all Minimalism’s clarity of form.

Mauro Staccioli has been working as a sculptor since 1968. His formal language can be described as Minimalist, but in contradistinction to Minimalism’s concentration on material and form, Staccioli includes the spatial context of his sculpture in the creative process as an aspect of his work that has equal validity. In consequence he has developed a working method which is mainly dependent on the site. For this reason his works have less of the stringency of Minimal Art’s objective investigation of the material. They incorporate a subjective interpretation of the spatial situation while retaining all Minimalism’s clarity of form.

Mauro Staccioli has been working as a sculptor since 1968. His formal language can be described as Minimalist, but in contradistinction to Minimalism’s concentration on material and form, Staccioli includes the spatial context of his sculpture in the creative process as an aspect of his work that has equal validity. In consequence he has developed a working method which is mainly dependent on the site. For this reason his works have less of the stringency of Minimal Art’s objective investigation of the material. They incorporate a subjective interpretation of the spatial situation while retaining all Minimalism’s clarity of form.

While his wooden sculptures in the late 1950s were still influenced by constructivism, Mark di Suvero began from 1964 to make expressive, space-filling outdoor sculptures from steel joists and other steel components. In spite of the weight of their materiality, his works communicate a spatial dynamism in which Kinetic Art and Abstract Expressionism seem to merge. The works of Mark di Suvero are represented in the collections of the most important international museums, and with more than 100 large-scale sculptures in public spaces all over the world, his work, as no other, represents the face of Abstract Expressionist sculpture.

While his wooden sculptures in the late 1950s were still influenced by constructivism, Mark di Suvero began from 1964 to make expressive, space-filling outdoor sculptures from steel joists and other steel components. In spite of the weight of their materiality, his works communicate a spatial dynamism in which Kinetic Art and Abstract Expressionism seem to merge. The works of Mark di Suvero are represented in the collections of the most important international museums, and with more than 100 large-scale sculptures in public spaces all over the world, his work, as no other, represents the face of Abstract Expressionist sculpture.

While his wooden sculptures in the late 1950s were still influenced by constructivism, Mark di Suvero began from 1964 to make expressive, space-filling outdoor sculptures from steel joists and other steel components. In spite of the weight of their materiality, his works communicate a spatial dynamism in which Kinetic Art and Abstract Expressionism seem to merge. The works of Mark di Suvero are represented in the collections of the most important international museums, and with more than 100 large-scale sculptures in public spaces all over the world, his work, as no other, represents the face of Abstract Expressionist sculpture.

While his wooden sculptures in the late 1950s were still influenced by constructivism, Mark di Suvero began from 1964 to make expressive, space-filling outdoor sculptures from steel joists and other steel components. In spite of the weight of their materiality, his works communicate a spatial dynamism in which Kinetic Art and Abstract Expressionism seem to merge. The works of Mark di Suvero are represented in the collections of the most important international museums, and with more than 100 large-scale sculptures in public spaces all over the world, his work, as no other, represents the face of Abstract Expressionist sculpture.

Simon Ungers studied architecture at Cornell University from 1975 to 1980 in Ithaca, New York. He became known internationally as an architect when he built the T-House (in collaboration with Tom Kinslow), a private house with a sculptural feel made of Corten steel, and the Cube-House, made of concrete blocks. As an artist he specialised in Minimalist (light) installations and sculptures, which were built giving due consideration to the site. In 1995 he won the competition for the Holocaust Monument in Berlin (design remains unbuilt). Ungers was on the teaching staff at Harvard University, Cornell University and the University of Maryland. He lived and worked in New York and Cologne.

Simon Ungers studied architecture at Cornell University from 1975 to 1980 in Ithaca, New York. He became known internationally as an architect when he built the T-House (in collaboration with Tom Kinslow), a private house with a sculptural feel made of Corten steel, and the Cube-House, made of concrete blocks. As an artist he specialised in Minimalist (light) installations and sculptures, which were built giving due consideration to the site. In 1995 he won the competition for the Holocaust Monument in Berlin (design remains unbuilt). Ungers was on the teaching staff at Harvard University, Cornell University and the University of Maryland. He lived and worked in New York and Cologne.

Simon Ungers studied architecture at Cornell University from 1975 to 1980 in Ithaca, New York. He became known internationally as an architect when he built the T-House (in collaboration with Tom Kinslow), a private house with a sculptural feel made of Corten steel, and the Cube-House, made of concrete blocks. As an artist he specialised in Minimalist (light) installations and sculptures, which were built giving due consideration to the site. In 1995 he won the competition for the Holocaust Monument in Berlin (design remains unbuilt). Ungers was on the teaching staff at Harvard University, Cornell University and the University of Maryland. He lived and worked in New York and Cologne.

Paul Wallach, who lives in Paris, is largely known for small abstract sculptures made from fragile materials such as plaster, rusty metal or driftwood, which are never placed free-standing in open spaces, but against walls or in places rarely used to display works of art, such as the corners of rooms. The sculpture and its location creates an “interspace” – and together they form a coherent entity. This always creates a delicate mutual relationship, which the viewer is drawn into as a partner for further dialogue. In this way the basic Minimalism of the sculptures takes on a human dimension.

Paul Wallach, who lives in Paris, is largely known for small abstract sculptures made from fragile materials such as plaster, rusty metal or driftwood, which are never placed free-standing in open spaces, but against walls or in places rarely used to display works of art, such as the corners of rooms. The sculpture and its location creates an “interspace” – and together they form a coherent entity. This always creates a delicate mutual relationship, which the viewer is drawn into as a partner for further dialogue. In this way the basic Minimalism of the sculptures takes on a human dimension.

Paul Wallach, who lives in Paris, is largely known for small abstract sculptures made from fragile materials such as plaster, rusty metal or driftwood, which are never placed free-standing in open spaces, but against walls or in places rarely used to display works of art, such as the corners of rooms. The sculpture and its location creates an “interspace” – and together they form a coherent entity. This always creates a delicate mutual relationship, which the viewer is drawn into as a partner for further dialogue. In this way the basic Minimalism of the sculptures takes on a human dimension.

Paul Wallach, who lives in Paris, is largely known for small abstract sculptures made from fragile materials such as plaster, rusty metal or driftwood, which are never placed free-standing in open spaces, but against walls or in places rarely used to display works of art, such as the corners of rooms. The sculpture and its location creates an “interspace” – and together they form a coherent entity. This always creates a delicate mutual relationship, which the viewer is drawn into as a partner for further dialogue. In this way the basic Minimalism of the sculptures takes on a human dimension.

Martin Willing systematically into with scientific exactitude investigates kinetic problems and oscillation in space. In the process he makes sculptures from geometrically exact, shaped metal rods and strips (for preference in titanium, steel and duraluminum), which are pre-stressed against gravity. In this way they develop a special dynamic of the own somewhere between stasis and movement. The trained physicist cuts out of solid metal, and the closed form is in this way opened and made to oscillate. Monumental kinetic freestanding sculptures like Quadratschichtung, because of the complicated calculations and elaborate construction involved, form a limited position in his work.

Martin Willing systematically into with scientific exactitude investigates kinetic problems and oscillation in space. In the process he makes sculptures from geometrically exact, shaped metal rods and strips (for preference in titanium, steel and duraluminum), which are pre-stressed against gravity. In this way they develop a special dynamic of the own somewhere between stasis and movement. The trained physicist cuts out of solid metal, and the closed form is in this way opened and made to oscillate. Monumental kinetic freestanding sculptures like Quadratschichtung, because of the complicated calculations and elaborate construction involved, form a limited position in his work.